Proven Formula a Delight For the past 17 years the revived Trowbridge Amateur Operatic Society has presented its main show in May and, for 10 of these years, a second show has been on offer in the weeks before Christmas. Songs from the Shows is a proven formula and it was therefore surprising to be reminded by the programme that this Showstoppers, presented to packed audiences for three nights at the Civic Hall shortly before Christmas, was only the second venture with the genre. Deanna Capper compiled and directed the show, during which the two pianos were sensitively played, as one, by David Luckett and Tony James, with Brian Yates on percussion. The evening opened, appropriately enough, with the full company in Another Opening, Another Show, the first of six numbers from the society’s forthcoming production Kiss Me Kate. There followed never-flagging selections from a further show and two medleys. With all these numbers, a cast of 40, three-quarters of whom had individual spots, and a full programme page of credits, it is impossible to mention all who contributed to such a worthwhile evening. Ann Walker was much appreciated in Thank You I’m Not Getting Married, from the first of the two Sondheim sections. Three of the following shows had been previously presented by the Society. The more recent Guys and Dolls (1989) brought the first half to a rousing conclusion with fine contributions from Jan Jensen, Paul Butler, Audrey Jordan, and Janet Knowles while the Dolly of 1985, Joan Francis, characteristically and energetically opened the second half. Nikki Greatwood in her ‘Enery Higgins portrayed the cockney Eliza with convincing relish, and Colin Lindsay finished the My Fair Lady excerpts in the convincing form he showed throughout, as did Mike Kemp, who appeared to good effect at regular intervals. June Morphew, another society stalwart, and Sheila Lewis, a relative newcomer, both sang pleasingly from The Merry Widow. Much very good wine had been enjoyed already, but the finale, the second medley, this time of six Westenders, was certainly an example of the best being kept to last. Anne-Marie Jordan and Richard Rawlings hit the right emotional level in Sun and Moon from Miss Saigon, a level maintained by Ian Jones, and then Jan Jensen, with songs from Aspects of Love and the first of these numbers from Les Miserables. Throughout the lengthy finale Paul Morgan had waited, statuesque, stage-centre. It was a worthwhile wait to enjoy the musicality and technical control of a most moving Bring Him Home. The full company gave the audience the opportunity to recover its collective composure, and wipe its collective eye, with the foot-tapping, revolutionary march Do You Hear The People Sing? We did. To the Operatic Society goes the thanks of an appreciative audience for the opportunity Contributed |